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Liquid ridge - Paintings
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Estimated Arrival: September 30, 2026
Handmade
Woman Owned
Made To Order
| Dimensions | Weight |
|---|---|
45.28H x 33.46W x 3.15D in 115H x 85W x 8D cm | 7 kg 15.43 lb |
This large textured abstract painting began with a very human thought: how much we change without noticing it.
I often use landscape as a language for what happens inside us. Here, forms move between eroded terrain, water, mountain ridges and drifting air. Nothing settles into one clear image, and I like that uncertainty. Depending on the distance, the light, or even the viewer's state of mind, the painting can feel geological, fluid or almost weightless.
Erosion is central to the work. It can be incredibly slow or suddenly forceful; it takes away, but also exposes new layers and creates unexpected forms. For me, it became a metaphor for how relationships, difficult periods and time itself leave traces in us. We adapt around them and gradually become someone slightly different.
The material contrast is an important part of the painting's presence. Acrylic and natural sand create tactile, mineral areas against the unusually smooth Yupo surface. Black, charcoal, grey and white move from soft atmospheric passages to stronger textured formations, with shadows and details becoming more visible as light changes across the day.
At 40 inches framed, the work has enough scale to hold a wall while its monochrome palette remains quiet within an interior. I see it working particularly well where materiality and light matter — residential spaces, executive offices, hospitality projects and interiors combining stone, wood, concrete, metal or other natural textures.
For me, though, its presence is ultimately emotional rather than decorative: a landscape about becoming, and about the marks life leaves without determining the final shape.
Medium: Acrylic and natural sand on Yupo paper
Unframed: 39.4 × 27.6 × 0.1 in | 100 × 70 × 0.1 cm
Framed: 40.2 × 28.3 × 1.2 in | 102 × 72 × 3 cm
Presentation: Black fiberboard frame
I often use landscape as a language for what happens inside us. Here, forms move between eroded terrain, water, mountain ridges and drifting air. Nothing settles into one clear image, and I like that uncertainty. Depending on the distance, the light, or even the viewer's state of mind, the painting can feel geological, fluid or almost weightless.
Erosion is central to the work. It can be incredibly slow or suddenly forceful; it takes away, but also exposes new layers and creates unexpected forms. For me, it became a metaphor for how relationships, difficult periods and time itself leave traces in us. We adapt around them and gradually become someone slightly different.
The material contrast is an important part of the painting's presence. Acrylic and natural sand create tactile, mineral areas against the unusually smooth Yupo surface. Black, charcoal, grey and white move from soft atmospheric passages to stronger textured formations, with shadows and details becoming more visible as light changes across the day.
At 40 inches framed, the work has enough scale to hold a wall while its monochrome palette remains quiet within an interior. I see it working particularly well where materiality and light matter — residential spaces, executive offices, hospitality projects and interiors combining stone, wood, concrete, metal or other natural textures.
For me, though, its presence is ultimately emotional rather than decorative: a landscape about becoming, and about the marks life leaves without determining the final shape.
Medium: Acrylic and natural sand on Yupo paper
Unframed: 39.4 × 27.6 × 0.1 in | 100 × 70 × 0.1 cm
Framed: 40.2 × 28.3 × 1.2 in | 102 × 72 × 3 cm
Presentation: Black fiberboard frame
Category: oil and acrylic painting
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